It’s a visually spectacular film, and includes an awesome ferryboat
explosion in the Mississippi River, just offshore from New Orleans.
There’s also a car chase conducted simultaneously during a rainy night
AND a bright, sunshiny day (this is cleverly set up and involves a
machine capable of peering into the past). One feature, new to me, is
labeled “Movie Showcase”—which, we’re told, provides “Instant Access To
The Filmmakers’ Most Cinematic Moments That Showcase The Ultimate In
High Definition Picture And Sound.” All those grandiose capital letters
set up a mere three scenes, including the ferry explosion (which,
surprisingly, left the ferry unharmed; in two weeks it was back on the
Mississippi, and is apparently still there).

This is indeed a terrific scene for high-definition: the explosion used
liquid fuel, resulting in enormous orange fireballs laced with
angry-looking black clouds, flinging cars and people in all directions.
There are also some impressive shots from an underwater perspective,
showing the people and automobiles plunging into the river. It’s a
relatively brief scene—explosions are quick—but is extended somewhat by
editing. It’s the kind of scene that’s so awesome, so satisfying to our
desire for exciting destruction (at least in movies), that even while
watching the film, you longed for a replay function. This disc has it.

And it has thunderous sound as well; you can easily make your walls
literally shake with the force of this explosion. It’s exactly the kind
of thing that makes a home theater worth having; you’re likely to show
this to friends to impress them with what an eye- and ear-popping
experience high-definition video can be. The writhing cloud of fire,
cars plunging into the river, bodies on fire (excellent stunt work—no
CGI was involved except perhaps as an enhancer)—it’s real movie
spectacle.

In the car chase, star Denzel Washington is wearing a helmet
electronically linked to billions of dollars worth of high-tech
equipment at a laboratory, enabling him to see four and a quarter days
into the past. He uses only one of the gadget’s eyepieces, plus his own
eye seeing the traffic that’s on the freeway right now. It’s better in
concept, though tricky, but ragged in execution; it’s a little hard to
accept this justice-seeking agent of the Bureau of Alcohol, Firearms
and Tobacco smashing heedlessly into the cars of innocent bystanders,
then roaring off in pursuit of the car he’s following. It’s spectacle
solely for the sake of spectacle.

The several extended and deleted scenes can be watched with or without
narration by director Tony Scott; as usual, it’s reasonably clear why
these scenes were shortened or removed, though there are a couple of
bits that could well have been left in. As Washington watches Paula
Patton—she’s four and a quarter days in the past (and it’s here
present-moment murder he’s trying to solve)—he gradually falls in love
with her; there’s a telling moment when, in her apartment in the past,
she kneels to pray and Washington lowers his eyes, either joining her
or too moved to watch. This is a nice touch of characterization, and
could have been included in the finished film, although it’s still a
bit long for a movie of this nature.

The most interesting feature is a variation on commentary tracks that’s
new to me. Other DVDs, high definition and otherwise, have occasionally
included a feature allowing you to hear and see the making of a
particular scene, but there’s something different here. According to
the somewhat overheated description on screen, the “Surveillance
Window” “Will Allow You To Go Back In Time With The Filmmakers For
On-Set, Behind-The-Scenes Moments Just Before They Happen In The Film.”

This turns out to include a commentary track by director Scott,
co-writer Bill Marsilli and producer Jerry Bruckheimer. Choosing this
option starts the movie at the beginning, with the three (recorded
separately) alternating comments. At appropriate points, the frame
freezes, a grid of scenes appear, one enlarges and you’re watching
behind-the-scenes footage (also narrated), including comments by stunt
directors, effects personnel, cameramen and some of the actors,
discussing a specific scene or concept. At the end, the grid reappears,
a frame enlarges and the movie recommences. This seems to be a
nearly-ideal combination of commentary and making-of featurettes; I
hope other companies take this approach.

We learn about a technique called “cross process” which adds to the
contrast of an image, and deepens the blacks. We hear how Marsilli
developed the idea with the aid of veteran screenwriter Terry Rossio.
We learn that Washington partly modeled his character on a real
government agent, Jerry Rudden—who appears in this documentary footage
himself. We learn that the screenwriters and director Scott locked
horns over just how science-fictional the story was to be—they wanted
more, he wanted less. And we learn that the film was in production
during Hurricane Katrina; the movie is dedicated to the spirit of the
people of New Orleans.

“Deja Vu” isn’t an exceptional movie, but this treatment of it, plus
the vivid intensity of the high-definition images, makes this Blu-ray
disc an ideal purchase for those eager to find movies to highlight
their home theater system.